Once upon a time all cars were manuals and although strictly speaking, the first auto transmission was invented by a Canadian in 1921 (a compressed air affair, not hydraulic fluid) It wasn't until the 1940s that General Motors introduced it's "hydro-matic" marvel, first employed in battle tanks during WW2 and later marketed to the general public in the form auto Oldsmobiles. Drivers took to the new concept and by the time the 1950s rolled around, autos were commonplace in many models.

Now, as the world upshifts jerkily past the first decade of the 21st Century and technology continues its exponential thrust forward, automatic cars have got really, really good and as a result, more and more people are using them, at least in many parts of Asia, Australia and of course, the US, where they've always been very popular. The advantageous savings in fuel economy hitherto enjoyed by manual drivers are now negligible compared to modern autos and ditto for power and thrust. Apparently. On top of this, there are a number of alternatives to the base manual, in the form of manumatics and cvt's.

Perversely, despite all the marvellous strides forward in auto cars I recently chose to buy a basic manual. As a confirmed auto driver who hadn't driven a manual since I was a learner, so long ago I can barely remember, I hadn't intended to, not in my wildest dreams, so why did I do it?

Well cost, primarily. On a practical level, I could get the second-hand car I wanted hundreds of dollars cheaper but there was also a smaller, niggling reason. Someone had said to me, while discussing the merits of autos and manuals: "you always shy away from a challenge". For murky reasons unknown, that simple statement got to me.

My attitude to gears had long been, "why muck around with sticks when you can get the car to do it for you?" but as a new manual owner, I now sympathise with the stick-shift lovers. They do offer a more exciting ride and a convincing impression of being *more in control* of the car.

Of course for some people, that can be a deficit. Being in control means you have to make the decisions and more decision-making means more stress, whether the driver is conscious of it or not. Some people would rather let the machine do the thinking and I can understand that view. After all, it was my own view for a long time. Autos just dash around effortlessly and all you need think about is steering, braking and accelerating - it's all so easy. Why create complications?

Stick Stress

Confident manual drivers may scoff but I confess, after 20 odd years of auto driving, the manual was quite fear-inducing in the beginning. Highway driving was fine but in the first week I found myself suffering waves of anxiety in heavy traffic and every time I approached an intersection. What's the best gear for the situation? Should I block change or go down through the gears? Do I sit at the lights in neutral with my foot on the brake or in first gear with my foot on the clutch? There was a lot to think about. What if I roll back on that hill and crush the car behind or....horrors...stall halfway through the intersection, thus creating havoc? I did stall, more than once and I did put in the wrong gear, more than once but it wasn't the end of the world. Stalling generally happens when you're stationary, so at worst you hold up traffic for a few seconds. No-one beeped or tried to attack me with a machete in road rage.

I also made some disturbing mistakes, missing the right gear, after which a truly horrendous crunching sound, accompanied by severe jerking, would ensue. I feared for my car's safety. But hey, it's been a few months and it's all relatively smooth now. I'm zipping around in my baby Mazda and loving it and the gears are almost second nature, if more stressful (and some studies have shown that manual drivers do suffer more driving stress). It is a little more driving work but I'm glad I took up the challenge.Sexier?
So are manuals sexier? Well, I guess that's debatable but let's face it, the phallic overtones of a nobbed gearstick are hard to avoid...all that caressing and fondling and there is something a tad wimpy about an auto, despite the strides forward. Personally, I think manuals are sexier, if only on an unconscious level and in truth, I feel sexier driving one. I like holding that gear stick. It's a tactile thing.

Legendary Hollywood costume designer Edith Head received more Academy Award nominations (35 in all) than any other women in Hollywood and won eight of them. Head was a power house of design, a true original, a trend-setter and fashion-wise, ahead of her time. Even today her severe black hair and eccentric thick-rimmed, tinted glasses would not look out place.

Born Edith Posener of Prussian immigrants, as a child, Head moved around frequently with her mother and step-father, eventually studiying at Berkely. Her list of academic achievements is impressive - she earnt a BA in Letters and Sciences with honors in French in 1919 and an MA in Romance Languages at Stanford the following year

Paulette Goddard in gold bugle beads, designed by Edith Head

A mink and sequins clad Ginger Rogers in a still from "Lady in the Dark"

Luscious Dorothy Lamour in a still from "Hurricane".

Head in Hollywood

After a stint teaching French and Art at the Hollywood School for Girls, Head scored a job with the costume department at Paramount Studios. In the interim she had married Charles Head, whom she divorced in 1938. Although she lter remarried she keptHead as her professional name.

The silent film The Wanderer (1925) was Heads first major project and she designed the costumes for it. The Wanderer was the start of a beaufitul career and by the 1930's she was acclaimed as one of Hollywood's top costume designers. 1938 was a breakthrough year for her, as that was year the studio's prominent designer, Travis Banton, left the studio, allowing Head toshine independently.

Head went from strength to strength and it was during her Paramount years that she was nominated for her academy Awards.Many of the iconic Hollywood fashion items from the period were designed by her; think of Dorothy Lamour's sarong dress from Hurricane , Ginger Roger's mink and sequins gown inLady in the Dark (1944) , Bette Davis's lush suits and gowns in All About Eve (1950) and later after, she joined Universal, Grace Kelly's coolly urban wardrobe in Rear Window(1954).

Critics

Head was not without her critics though, many of whom criticised both her work methods and her opposition to unions, which would have given studio-based designers more clout in the industry. The designer also had a reputation for claiming credit for the work of others, although in the early days of Hollywood, it was common practice for a head of a costume departments to put their own name to the studio designs.

On a personal level, many of her contemporaries speak highly of her warmth and generostiy - she was a great home entertainer and fully enjoyed the company of others.

Edith Head publicity shot. Photo from Cinema Style

Head and Hitchcock

In 1967 Edith Head switched over to Universal, where she stayed until the year of her death in 1881. During this period she also branched out into televesion work as the studi system was changing and many of the great stars she had worked so closely with where no longer around.

At Paramount head had formed a close professional relationship with British director, Alfred Hitchock and the pair worked on many of his films together. Some suggested her move from Paramount was spurred on by Hitchcock's move from Paramount to Universal a few years earlier.

Head and Hitchcock worked on many films together, including Notorious, Rear Window, To Catch a Thief, Vertigo, Marnie, The Birds, The Trouble with Harry andFamily Plot

Edith Head died in 1981, four days before her 84th birthday and was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.The legendary designer has a studio named after her and her own star on Hollywood Boulevarde but her true legacy will be remembered via the millions of film viewers who continue to admire the many wonderful costumes she created.

Grace Kelly, elegantly dressed by Edith Head for "Rear Window"

Edith Head and friends

Edith Head died in 1981, four days before her 84th birthday and was interred in Forest Lawn Memorial Park Cemetery in Glendale, California. Her final film was deadMen don't Wear Plaid, starring Steve Martin and the film was deciated to her.

The legendary designer has a Prop Building at Universal Studios Hollywood and a Costume building at Paramount named after her and her own star on Hollywood Boulevarde but her true legacy will be remembered via the millions of film viewers who continue to admire the many wonderful costumes she created.